Clay on Main, based in the historic village of Oley, Pennsylvania, has established itself as a great local arts center for young and old alike. On September 18th, it opened its latest exhibition, featuring local photographers Amy Forsyth, Patricia Scialo, and Barbara Thun.

The exhibit was curated by Kristen Woodward, with a goal towards showcasing the unseen influences of each these contrasting artists.

About Amy Forsyth:

My work is currently in the medium of sculptural furniture, and also in music. I spend most of my time doing three things: designing and building furniture and sculptural pieces, teaching design at Lehigh University, and playing music, most often with friends. I do not restrict myself to one particular medium; I make drawings and objects of wood, I studied architecture, have worked in clay, studied dance, etc. This is both my strength and my weakness. I am not as good of a craftsperson as someone who spends all their time in one discipline, but because I am not restricted by medium, this gives me new ways of discovering and conjoining ideas.

About Patricia Scialo:

My continued concentration with alternative photographic processes has taken on a mixed-media approach. When altering the surface of a photographic print I use materials such as oil, graphite, encaustic and found-materials for embedding.

These techniques allow me to build layers, adding depth to the photographic imagery. Hand work is vital to the print-making process.

Rediscovered through the lens of my camera, the subject is often transformed, recreated, with the intention to give the viewer a desire to pause and look closer.

Light is the element of design that catches my eye when looking at subjects. Light allows me to enhance the subject and create a point of interest. Light allows the magic to happen when processing with photographic chemistry.

About Barbara Thun:

Color and texture, the written word and combinations of images and mediums are the basis of my work.

We exist in a precarious balance with all of nature. My work seeks to remind us of the overwhelming power and beauty of this world – and our insignificance. The power to destroy lies always just behind or below the surface of its beauty.

My present work includes a tactile involvement with three dimensional natural forms and drawings that reflect a more abstract approach to the color and texture of the land – both mediums reflecting the mystery and power of the natural world.

Deborah Bell Photographs brings in the end of the year with an examination of Marcia Resnick’s beginning. Before Resnick’s more famous works, she was graduating from Cal Arts and still finding her style. Conceptions: Vintage Photographs 1974-1976, focuses on this period.

Engaging with the idea of the artist’s book, she embarked in 1974 on a series of photographs called See – “photographs of people photographing places.” In an interview with Alex Sweetman at the School of the Art Institute of Chicago in 1978, published in Exposure (16:2), she said:

I found that when I went to tourist spots, there would be people looking at places and they’d always get in the way and I’d always see them from behind. That was the whole [Maurice] Merleau-Ponty kind of philosophical thing: being in front and being behind – like being inside yourself. I was interested also at that time in the iconography of body gestures. How you could read, from the way a person’s body was from the back, almost as much, or as much, as you could from looking at a face in a portrait.

In her now-classic 1974 series See Changes, using one photograph from See, Resnick shows her Cal Arts classmate James Welling perched on the edge of the Grand Canyon and, by manipulating and altering the photograph with paint, pencil and collage in numerous variations, continues to explore her earliest interest in the nature and presence of the photographic print.

Marcia Resnick was born in Brooklyn in 1950. She received her BFA from The Cooper Union, New York City, in 1972, and an MFA from the California Institute of the Arts in Valencia, CA, in 1973. Resnick’s photographs can be found in numerous institutional collections, including the George Eastman Museum, Rochester; J. Paul Getty Museum, Los Angeles; The Jewish Museum, New York; Metropolitan Museum of Art, New York; The Morgan Library & Museum, New York; The Museum of Modern Art, New York; Museum of Fine Arts, Houston; National Gallery of Art, Washington, DC; Nelson-Atkins Museum of Art, Kansas City, MO; The New York Public Library; Ryerson Image Center, Toronto, ON; and the San Francisco Museum of Modern Art.

Fans of the wonderful artistry by Tomiko Jones will have a few different options to view her work this fall.

Tomiko Jones’ work is linked to place, exploring transitions in the landscape in social, cultural and geographical terms. Jones received her Master of Fine Arts in Photography with a Certificate in Museum Studies from the University of Arizona in Tucson. She is the recipient of awards including the 2013 En Foco New Works Fellowship, the National Society for Photographic Education Freestyle Crystal Apple Award for Outstanding Achievement, 4Culture and CityArtists. She spent three months in residence at Museé Niépce in Chalon-Sur-Saône, France and a project-specific Fellowship at The Camargo Foundation in Cassis, France.

As an educator, Jones taught as Assistant Professor and Photography Program Coordinator at Metropolitan State University of Denver, New Mexico State University and Drury University Summer Institute for Visual Arts. Currently she is a Visiting Artist and Curator-in-Residence at California Institute of Integral Studies in San Francisco, California.

First, in San Francisco, Jones’ series Hatsubon will be on display at Desai | Matta Gallery, part of the Arts at CIIS. The exhibit and opening reception began Saturday, September 10th, but Tea Talk Tuesdays with Jones on Sept. 27 and October 18th will accompany the exhibition prior to its closing on October 27th.

Throughout time communities and cultures have sent many of their young ones off to sea to find a better life on the other shore. At the other end of a lifetime, the ocean is home to our many rituals of death, both vehicle and destination for the final journey of those we love. With this exhibition we ritually set free the spirit and body of Tomiko Jones’ father, who passed away just days before she arrived in San Francisco to take on a role as Visiting Artist and Curator-in-Residence.
Deirdre Visser, Curator, The Arts at CIIS

Upon concluding in San Francisco, Jones will take her work to the Kipp Gallery, at Indiana University of Pennsylvania. Passage : Hatsubon with an open reception November 3 and exhibit conclusion December 8th.

Inspired by end-of-life conversations with her father in the months leading up to his death of how one “travels” to the next destination, this work takes shape as a meditation on spiritual transcendence. Through photographic installation and video projection, “Passage: Hatsubon” weaves together imagery Jones collected in Swissvale, Pennsylvania, the town of her father’s birth; Hawaii, her mother’s home and her father’s final resting place; and California, where her parents met and Jones was born.
Chris McGinnis, Curator, Kipp Gallery

We like to see our friends get noticed. It never hurts however when another source does the same, as Black & White Photography has done with Sandy Alpert.

I’m delighted to share some exciting news…

I’m so honored and thrilled to announce a photograph from my new series

“The Vertical Expression Of Horizontal Desire” is on the cover of the latest issue of Black + White Photography Magazine (UK), September issue #193. It’s accompanied by a two-page feature article about my work.

Count Susan Spiritus Gallery amongst those excited for the beginning of fall. The gallery is excited to debut a new collaborative duo this month, along with the works of a more established veteran. Collectors should take note.

First to feature the work by the creative duo, Deb Young + Frank Diaz, the International Collaboration Project artists, as they work together in real time while living on two different continents; Deb in New Zealand and Frank in the USA.

In a very short period of time this duo has achieved great success and much recognition.
Their most recent achievement has been to win and share with two others, the 9th Julia Margaret Cameron Award for photography! Recent articles on the artistic duo have been published in Creative Boom, an online magazine that celebrates and supports the creative community; Chilie’s mor.bomagazine; New York’s featureshoot Magazine; New York’s Musée Magazine, Russia’s Bleek Magazineand New Zealand’s D-Photo Magazine among others!
All of the links to these articles will be on the gallery’s website for reading at your leisure. The collection of work we are featuring in this newsletter is from the Playground series.

In addition, we are featuring work by the Australian photographer Ben Thomas who has reconstructed the urban places which we call home. The photographs are from the Chroma series, which illustrate a sense of place, a celebration of the minimal, and are hyper-bright and unreal.Ben Thomas is one of the finalists for The William and Winifred Bowness Photography Prize which is an initiative of the MGA Foundation to promote excellence in photography. It has become Australia’s most coveted prize in photography since its inception in 2006.

Prints are available in decidedly limited fashion, so if there’s any interest, it’s recommended to not be tardy with inquiries.

Fans of 19th century photography are strongly advised to be in New York City this October. Why? The Daugeurreian Society will present the 19th-Century Photography Conference and Show, a five-day event that will feature and art fair, panel discussions, receptions, and tours.

Here’s a rundown of what to expect.

On October 19th, a symposium, from 9:30 to 4pm will

feature a panel discussion with top contemporary artists discussing how 19th-century photography and its processes have influenced their work, and presentations by curators and collectors on why they include 19th-century photography along with modern and contemporary photography in their collections. Highlights include:

Some of the highlights will be looking at how contemporary art photographers can use 19th Century photoprocesses, how these processes can help “save” contemporary photography, a history of photography, and a panel by collector Dan Solomon .

On October 20th, the Annual Daguerreian Society Conference will get underway at 8:45. Speakers will in include the Metropolitan Museum of Art’s photography curator Jeffrey Rosenheim, scholar Larry Schaaf, scientist Dusan Stulik, the Met’s Stephen Pinson, Museum of Fine Art’s Nancy Keeler, Thomas Walther, Mike Medhurst of Medhurst & Co., and many more art gallerists and fine art academics.

An evening reception will also occur that Friday:

Following the Conference on Friday, October 21, attendees are invited to attend several receptions: Hans P. Kraus Jr. Fine Photographs will hold a reception for the exhibitions Adam Fuss Daguerreotypes and The Womb of the Pre-Raphaelite Imagination and John Beasley Greene at 962 Madison Avenue. Howard Greenberg Gallery will hold a reception for the exhibition “A New and Mysterious Art:” Ancient Photographic Methods in Contemporary Artcurated by Jerry Spagnoli at 41 E. 57th Street. Both events are from 7:15 p.m. – 9:30 p.m.

Saturday, October 22nd, will be the star of the event, with a 19th Century Photography Show:

The 19th-Century Photography Show will be held for one day only on Saturday, October 22, from 10:15 a.m. to 7 p.m. with more than 100 international photography art dealers. On view will be museum-quality daguerreotypes and other 19th century photography by some of the most important photographers of the time. Exhibitors from the U.S., England, Ireland, France, Germany, Denmark, Argentina, Sweden, and Canada will include Peter Fetterman Gallery, Howard Greenberg Gallery, James Hyman Gallery, Alan Klotz Gallery, Hans P. Kraus, Jr., Lee Gallery, Serge Plantureux, William Schaeffer, Vintage Works, Ltd., Janet Lehr Inc., 19th-Century Rare Books and Photographs, and Charles Schwartz, Ltd., among many others.

Wednesday, October 19th and Sunday, October 23rd, will be made available for offsite tours. The event will be held at the Wyndham New Yorker Hotel and tickets are available through the Daguerreian Society.

George Tice has long had a love affair with his home state of New Jersey and the Americana of its urban sprawl. Joseph Bellows takes the public back to the 70s to explore one of Tice’s earlier periods.

The exhibition will present a remarkable selection of forty exceptionally rare vintage 8 x 10 inch gelatin silver contact prints from the early period (1973-74), of Tice’s ongoing epic visual poem of his native state of New Jersey. These unique vintage prints will be punctuated with larger photographs of some of artist’s most revered and significant images, as well as selections of more recent work from his extended New Jersey portrait.

Renowned for their attentive and quotidian descriptions of the everyday structures and places that define the American cultural landscape, Tice’s exquisitely printed photographs catalog a rich and layered journey that is both personal and universal. In the photographs that comprise Urban Landscapes, Tice defines a sense of America within a tradition rooted in the work of other American masters, namely Edward Hopper and Walker Evans. Tice’s photographs of New Jersey in the early to mid 1970’s describe a particular time and place; however, as the artist states, “It takes the passage of time before an image of a commonplace subject can be assessed. The great difficulty of what I attempt is seeing beyond the moment; the
everydayness of life gets in the way of the eternal”. Now, with decades past, Tice’s observations have become even more poignant depictions, everlasting a specific era and landscape, as the artist intended.

The exhibit will open September 10th, featuring George Tice at the opening reception from 6-8pm. Visitors can continue to view until October 28th, 2016.

Kim Weston, grandson of Edward Weston, has an exciting new show coming to Exposed Gallery, in Carmel-by-the-Sea, California. The show is supposed to bring together Weston’s most iconic works in one place.

Kim Weston’s show of 16 silver-gelatin photographs are inspired by the works of painters such as Balthus, Picasso and others. Balthus’ painting titled The Guitar Lesson will be represented by 4 photographs in this show as well as Picasso’s Guernica.

“My work has been inspired from paintings for over 45 years. For me the connection to painters has given me subject matter I find of endless value and inspiration. Many subjects I return to again and again. The themes from these paintings have become old friends and give me endless satisfaction in my journey to solving the problem.”

-Kim Weston

The shows opens on August 19th, 2016 with an opening reception from 6:00-9:00 PM. It will continue to be displayed until September 17th.

Photography collectors on the east coast might behoove themselves to inquire with Alan Klotz Gallery this summer regarding their Annual Summer Sale.

As always the work offered in this sale is from our regular inventory, and is not secondary material. This year we are featuring prime examples of works by Adams, Brassaï, Callahan, Capa, Chiarenza, Chochola, Curtis,

Although the sultry weather might discourage anything but languorous movement, this inventory should engender a more jack-rabbit response. It won’t be available for long. Regardless, of your favorite mode of procrastination, the Sale ends Labor Day.

The Summer Sale will conclude on September 5th. Alan Klotz Gallery is a by-appointment private gallery, so those interested in viewing the any works in person need to schedule a visit. Meenwhile, the Gallery prides itself on swift arrangments for shipping to out-of-towners.

Howard Greenberg Gallery has worked with Jerry Spagnoli to create a unique gallery experience this fall.

Tired of going to run-of-the-mill photography exhibitions? This premier New York gallery will be focusing on 19th century photo techniques – daguerreotypes, photogenic drawings, calotypes, ambrotypes, tintypes, and camera obscuras – for modern use. The photographers featured include Takashi Arai, Stephen Berkman, Dan Estabrook,Adm Fuss,Luther Gerlach, and more.

The pre-industrial period from 1839 (when photography was invented) through the 1860s was a seminal time, when the pioneers of the medium used experimental, hand-fabricated methods to capture light. The resulting images had an immediacy and unpredictability that drew attention to the illusory nature of the nascent endeavor. The title of the exhibition at Howard Greenberg Gallery is drawn from an 1857 essay about the relationship between art and photography by Lady Elizabeth Eastlake, a British author, art critic and art historian. She wrote, “It is now more than fifteen years ago that specimens of a new and mysterious art were first exhibited to our wondering gaze.”

Industrialization homogenized the photographic documentation of the visual world, making the results more predictable. In reaction, the artists in “A New and Mysterious Art”: Ancient Photographic Methods in Contemporary Art acknowledge and embrace the primitive forms of photography. Utilizing these early methods – and equipment – today allows for a newly personalized expression and a direct engagement with the medium. Among the works on view will be daguerreotypes by Takashi Arai; albumen prints from wet-plate collodion negatives by Stephen Berkman; salt prints from calotype negatives by Dan Estabrook; daguerreotypes by Adam Fuss; relievo ambrotypes by Luther Gerlach; work made using a room-sized camera obscura by Vera Lutter; wet-plate still lifes, portraits and figure studies by Sally Mann; ambrotypes by Matthias Olmeta; pigment prints from photogenic drawings by France Scully Osterman & Mark Osterman; and daguerreotypes and wet-plate collodion ambrotypes by Craig Tuffin.

About Jerry Spagnoli

Jerry Spagnoli (b. New York, 1956), a photographer since the mid-1970s, is considered the leading expert in the revitalization of the daguerreotype process, a complex photographic technique invented in 1839 that produces images on highly polished, silver clad copper plates. Since 1994, he has experimented with 19th-century materials and studied the effects achieved by early practitioners in order to understand the technical aspects of the process, as well as its expressive, visual potential as a medium. Spagnoli began work on an ongoing photographic series entitled The Last Great Daguerreian Survey of the 20th Century in 1995. The project features views of the New York as well as images of historically significant events including the destruction of the World Trade Center on 9/11, the vigil following the disappearance of John F. Kennedy, Jr., and Times Square at midnight on the eve of the new millennium and the first Inauguration of President Obama. Spagnoli is also known for his collaboration with artist Chuck Close on daguerreotype portraits and nudes.

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